words / Jennifer Inacio
The55project:
(Miami - 2020)
Jennifer Inacio:
Okay, perfect. Okay, so I think we can start.
Thank you, everyone.
and thank you Gustavo for being here today. We're really excited with the project that opens tomorrow to the public at three o'clock
We'll have a members preview at two. And before we start, I just want to let everyone know
Just one second. Oh, I'm sorry, I'm getting a message here.
Jennifer Inacio:
Okay, perfect. So before we start, I just wanted to thank all the sponsors we have: the Consulado Geral do Brasil here in Miami. They're great supporters of the 55 project, and Plus Interior design, Five Drinks Company, Miami-Dade County, Culture Built Florida Miami Beach, and of course, Miami Beach Botanical Gardens, because they are collaborating with the 55 project.
And for those of you who might not know, We're here on the 55 project Instagram. I strongly suggest people explore and see what this project does. It's a great initiative to bring Brazilian artists and promote Brazilian artists here in the US, with a focus here in Miami and also New York. So, I’ve been fortunate to work a lot with, with Flavia and Maria and everyone who was and is still involved with the program.
So we're glad to be here today with Gustavo Prado, Brazilian artists, but based in New York. And I will skip the formalities of bios and just dive straight into the conversation. And anyone who has questions throughout the conversation, just feel free to drop them into the comment section below, and I'll try to catch them, or maybe at the end, I'll just go and review everything.
So Gustavo, let's start talking about the project here and how it all started, because it is an iteration or different versions of other projects that you have done in the past.
The undercurrent is a project here in Miami,"Measures of Dispersions" has been a project or a series of not just public art, but, sculptures and other works that you create using these convex mirrors that we see. So talk a little bit about how different it's been from these other series and similarities too, because I think the materials are very (..) are always the same, but put in different contexts. So tell us.
Gustavo Prado:
So let me just thank you, Jennifer, Flavia, and everyone at the project 55 in the Miami Beach Botanical Garden. I’m Really happy to be doing this project in Miami right now. It's odd because from the beginning, when I started to work with this system of sculptures of almost like this machine of generating different projects and sculptures. It was always planned to be able to be sourced anywhere it went. So whenever I was invited or was doing like a proposal to do a new project, I could get the materials from that location, right? So these are out of shelf materials, which is a term that we use here for things that you can find in any hardware store or, you know (...) they're very common things. They're part of the city and the way that the city is built and organized. So it's interesting that in a year when I'm stuck in a studio in New York, the work still going around, and it's able to see things, that from the studio here I'm not able to see. I've had that experience before, even through platform, search, Instagram, of having placed a work somewhere, and then have people and even in a different city in the world [interacting]. And when the first edition, like the first version of this project happened in Rio at the Botanical Garden, people would make selfies and be there and post their pictures online, on Instagram and tag me, and I'll be able to see how the weather is in Rio, if it's sunny or rainy. So have this experience of a completely different place from New York. So you have those two aspects, that the way that the materials and the way of building the work was conceived, and the way that I first planned for it, which is this way of not having to fabricate anything, and I'm combining things that are already in circulation, that are already available. So that was the strategy for be able to do larger public sculptures without much resource, and at the same time you have that aspect of challenging people to see a material there, think that they are familiar with in a new way. I think that was always the challenge with sculptures. So you reveal something about the material that hasn't been revealed before. You review something about that space in which the sculpture is placed, or an installation is placed that you haven't thought of before. So I feel like this piece of the Miami Botanical Garden, it's like the maturing of like several things that I plan. And that I prepare for, but you're being put to the test at this project, to do a public sculpture without being able to be present at the space where it's being built and in seen. And it's, it's interesting, it's a challenge…
Jennifer Inacio:
and I was gonna ask, this is good, because I was one of my questions I wanted to ask you, is that I think now a lot of especially with the quarantining, I think now it seems we're going to go back into some lockdowns in some cities. So I think when institutions and galleries started to reopening, (...) i know from where I've worked, where i work we're thinking about, outside. I think the outside is definitely something that you feel safer now, and it's interesting to see actually, here in Miami, there are a couple of institutions, galleries and museums, thinking more about this outside public space in order to still cater and present and offer art when people might not feel safe going inside. How do you feel? how does this that play? You know it's it's good to you because it's good for you, because you're already thinking in this sense and thinking about public art. But does that change in any way how you had been thinking lately about works? This new dynamic of presenting works safely to viewers, depending on where we'll be, if we'll be in a new lockdown soon or and or not. You know, so has that affected you in thinking that way?
Gustavo Prado:
Yeah, absolutely.
I think that gardens, even at the Miami Botanical Garden, where you have, like a Zen, Japanese garden, right? Gardens have always been a space where you invited to go to, not to escape your thoughts or worries or concerns, but mostly, it's like an invitation to relate with something that's outside of yourself, right? Like you focus on a pond, you focus on a tree. And I feel it's not that we inside our own spaces and homes, and is that we are also trapped mentally in terms of being concerned about, are we going to have a vaccine? And when is it going to come? What's the political situation and all that was an election (...). So it's not that we're trapped, just physically. We're trapped psychologically, mentally. So art was always that invitation of coming outside of yourself sometimes to have a political conversation and have that, that way of seeing something that has political content through a new light. But there's also that freeing experience of just escaping a narrative, having something that's physical and present in the world that allows you to get out of that narrative. So I feel like this kind of public art, and public art in general is very important, like, maybe more than ever. Like, I have just been through an experience of going through a residency here in New York, where a lot of other Brazilian artists have participated in, and one of the gifts of the of the residency was to be able to work in the garden, and to have this system where we're being dialog with the way that space is always changing.
So that's also some like part of the of the challenge of working with mirrors, working from a distance, is that you from the get go, you acknowledge that you're not in complete control of everything that's going to happen. You build a work to be in flow, in flow with that space, in flow with the people that are going to join you in that space. So there's that sense of an invitation, as I was saying, like a garden has always been.
I'm just interested in, especially in this occasion, when you have a work that's been traveling, almost like a troupe or a music show that you go from one city to the next, it's interesting to have that experience of a sculpture that or a project that through its relationship with the origin with the Botanical Garden in Rio, created enough situations and complexities that you'll be able to carry to a new garden, to a new botanical garden, and to see how it's going to relate with that space. And we've made several changes for that new space that has a different scale, that has different kinds of plants, but definitely that sense of like inviting people to come outside, but to come outside not just of their physical spaces, and join a lot larger group of people safely with their masks in this new space, but to come outside of their thoughts, to come up outside of their inner narrative, of their of their inner concerns.
Jennifer Inacio:
And I think this relates a lot to what you're doing with the work psychology, philosophically, even with the title too. We talked a lot about, how this work, the reflections are not just a public work or sculpture that you just walk through and look at it. It's really making you think about new ways of looking, or new alternatives…
So it's interesting. You bring that point, because i was writing the text for for the exhibition I mentioned that (...), and we talked about this, like these new sidelines, by creating these sculptures, or these passageways with the works, with these reflective sculptures that are pointing, or the reflection changes not, not just based on the angle that you, you are, intervening and creating, but also the public. The public is creating that experience as well, by the way that they move, if they move fast, if they, look at a different angle or, or if they approach the distance to is also a factor. So maybe we can talk a little bit about the title and how this relates to exactly what you're saying, coming outside of like, mentally, even to escape this, this world that we are blocked physically and mentally, but also offering new alternatives of seeing things and seeing your surroundings, not just physically but also mentally.
Gustavo Prado:
Yeah, I love when you brought up that concept of sideline and all that. It came to mind that when I was a kid, I had this way of thinking like an explorer or adventure that goes to the Himalayas for climbing a mountain for the first time, and that sort of experience. I always thought of that from the point of view of: so he's seen something that nobody else had seen before. He's seen the world from a position, from an angle that nobody else has seen before. And when you think about the history of mirrors and lenses, it has always been in relationship to that urge, that kind of hunger, that kind of desire that exists in terms of being hungry with the eyes, like wanting to see something in a way that nobody has seen before, and from a place that nobody even when you think about sci fi, science fiction, that sort of thing, like you see a planet, it has two moons or three moons, you've seen something that nobody else had seen before. So it's interesting that idea on the current kind of relates to the potential that exists in every place to be seen for the first time. There's a way of seeing that same place for the first time, because it's always changing, but because there's a person that's seen it, that's different. There's a configuration, a combination of elements that's going to be seen in a different line, in a different way, and you have the symbolical aspect of it, but also the physical, the perceptual aspect of it.
So I think when artists began to use lenses, you begin you can see it as revealing something of the world for the first time, an aspect of the world like that has not have not been revealed before. But you can also think of it as inaugurating or creating a completely new world, like when Vermeer, was using lenses, he created a completely new way of doing painting. So I think that we are always after that undercurrent, that kind of underground river, or of potentiality for what can be seen or what can be experienced of the world.
This is almost like squeezing out of it another job of some of an experience that you haven't had before. So I'm sure that the Botanical Garden is a very popular place in Miami, and a lot of people have been through it. And when you're invited to do a public piece there there's that challenge, can I relate to that space? Or can I review something about that space? Can I offer an experience of it and with it? Right? It's not just placing something there. Is like there's a desire to reveal something about it in dialogue with it that hasn't been revealed before. So, yes, I think that's also that level of humility, you know that you're like creating the elements to have the garden itself, be the protagonist, and even the viewer be the protagonist, because the work is going to exist in their eyes depending on how long they want to expand, they want to spend there, how much they want to explore of it. What is their availability for it?…
The55project:
The Undercurrent
(Miami - 2020)
Jennifer Inacio:
Okay, perfect. Okay, so I think we can start.
Thank you, everyone.
and thank you Gustavo for being here today. We're really excited with the project that opens tomorrow to the public at three o'clock
We'll have a members preview at two. And before we start, I just want to let everyone know
Just one second. Oh, I'm sorry, I'm getting a message here.
Jennifer Inacio:
Okay, perfect. So before we start, I just wanted to thank all the sponsors we have: the Consulado Geral do Brasil here in Miami. They're great supporters of the 55 project, and Plus Interior design, Five Drinks Company, Miami-Dade County, Culture Built Florida Miami Beach, and of course, Miami Beach Botanical Gardens, because they are collaborating with the 55 project.
And for those of you who might not know, We're here on the 55 project Instagram. I strongly suggest people explore and see what this project does. It's a great initiative to bring Brazilian artists and promote Brazilian artists here in the US, with a focus here in Miami and also New York. So, I’ve been fortunate to work a lot with, with Flavia and Maria and everyone who was and is still involved with the program.
So we're glad to be here today with Gustavo Prado, Brazilian artists, but based in New York. And I will skip the formalities of bios and just dive straight into the conversation. And anyone who has questions throughout the conversation, just feel free to drop them into the comment section below, and I'll try to catch them, or maybe at the end, I'll just go and review everything.
So Gustavo, let's start talking about the project here and how it all started, because it is an iteration or different versions of other projects that you have done in the past.
The undercurrent is a project here in Miami,"Measures of Dispersions" has been a project or a series of not just public art, but, sculptures and other works that you create using these convex mirrors that we see. So talk a little bit about how different it's been from these other series and similarities too, because I think the materials are very (..) are always the same, but put in different contexts. So tell us.
Gustavo Prado:
So let me just thank you, Jennifer, Flavia, and everyone at the project 55 in the Miami Beach Botanical Garden. I’m Really happy to be doing this project in Miami right now. It's odd because from the beginning, when I started to work with this system of sculptures of almost like this machine of generating different projects and sculptures. It was always planned to be able to be sourced anywhere it went. So whenever I was invited or was doing like a proposal to do a new project, I could get the materials from that location, right? So these are out of shelf materials, which is a term that we use here for things that you can find in any hardware store or, you know (...) they're very common things. They're part of the city and the way that the city is built and organized. So it's interesting that in a year when I'm stuck in a studio in New York, the work still going around, and it's able to see things, that from the studio here I'm not able to see. I've had that experience before, even through platform, search, Instagram, of having placed a work somewhere, and then have people and even in a different city in the world [interacting]. And when the first edition, like the first version of this project happened in Rio at the Botanical Garden, people would make selfies and be there and post their pictures online, on Instagram and tag me, and I'll be able to see how the weather is in Rio, if it's sunny or rainy. So have this experience of a completely different place from New York. So you have those two aspects, that the way that the materials and the way of building the work was conceived, and the way that I first planned for it, which is this way of not having to fabricate anything, and I'm combining things that are already in circulation, that are already available. So that was the strategy for be able to do larger public sculptures without much resource, and at the same time you have that aspect of challenging people to see a material there, think that they are familiar with in a new way. I think that was always the challenge with sculptures. So you reveal something about the material that hasn't been revealed before. You review something about that space in which the sculpture is placed, or an installation is placed that you haven't thought of before. So I feel like this piece of the Miami Botanical Garden, it's like the maturing of like several things that I plan. And that I prepare for, but you're being put to the test at this project, to do a public sculpture without being able to be present at the space where it's being built and in seen. And it's, it's interesting, it's a challenge…
Jennifer Inacio:
and I was gonna ask, this is good, because I was one of my questions I wanted to ask you, is that I think now a lot of especially with the quarantining, I think now it seems we're going to go back into some lockdowns in some cities. So I think when institutions and galleries started to reopening, (...) i know from where I've worked, where i work we're thinking about, outside. I think the outside is definitely something that you feel safer now, and it's interesting to see actually, here in Miami, there are a couple of institutions, galleries and museums, thinking more about this outside public space in order to still cater and present and offer art when people might not feel safe going inside. How do you feel? how does this that play? You know it's it's good to you because it's good for you, because you're already thinking in this sense and thinking about public art. But does that change in any way how you had been thinking lately about works? This new dynamic of presenting works safely to viewers, depending on where we'll be, if we'll be in a new lockdown soon or and or not. You know, so has that affected you in thinking that way?
Gustavo Prado:
Yeah, absolutely.
I think that gardens, even at the Miami Botanical Garden, where you have, like a Zen, Japanese garden, right? Gardens have always been a space where you invited to go to, not to escape your thoughts or worries or concerns, but mostly, it's like an invitation to relate with something that's outside of yourself, right? Like you focus on a pond, you focus on a tree. And I feel it's not that we inside our own spaces and homes, and is that we are also trapped mentally in terms of being concerned about, are we going to have a vaccine? And when is it going to come? What's the political situation and all that was an election (...). So it's not that we're trapped, just physically. We're trapped psychologically, mentally. So art was always that invitation of coming outside of yourself sometimes to have a political conversation and have that, that way of seeing something that has political content through a new light. But there's also that freeing experience of just escaping a narrative, having something that's physical and present in the world that allows you to get out of that narrative. So I feel like this kind of public art, and public art in general is very important, like, maybe more than ever. Like, I have just been through an experience of going through a residency here in New York, where a lot of other Brazilian artists have participated in, and one of the gifts of the of the residency was to be able to work in the garden, and to have this system where we're being dialog with the way that space is always changing.
So that's also some like part of the of the challenge of working with mirrors, working from a distance, is that you from the get go, you acknowledge that you're not in complete control of everything that's going to happen. You build a work to be in flow, in flow with that space, in flow with the people that are going to join you in that space. So there's that sense of an invitation, as I was saying, like a garden has always been.
I'm just interested in, especially in this occasion, when you have a work that's been traveling, almost like a troupe or a music show that you go from one city to the next, it's interesting to have that experience of a sculpture that or a project that through its relationship with the origin with the Botanical Garden in Rio, created enough situations and complexities that you'll be able to carry to a new garden, to a new botanical garden, and to see how it's going to relate with that space. And we've made several changes for that new space that has a different scale, that has different kinds of plants, but definitely that sense of like inviting people to come outside, but to come outside not just of their physical spaces, and join a lot larger group of people safely with their masks in this new space, but to come outside of their thoughts, to come up outside of their inner narrative, of their of their inner concerns.
Jennifer Inacio:
And I think this relates a lot to what you're doing with the work psychology, philosophically, even with the title too. We talked a lot about, how this work, the reflections are not just a public work or sculpture that you just walk through and look at it. It's really making you think about new ways of looking, or new alternatives…
So it's interesting. You bring that point, because i was writing the text for for the exhibition I mentioned that (...), and we talked about this, like these new sidelines, by creating these sculptures, or these passageways with the works, with these reflective sculptures that are pointing, or the reflection changes not, not just based on the angle that you, you are, intervening and creating, but also the public. The public is creating that experience as well, by the way that they move, if they move fast, if they, look at a different angle or, or if they approach the distance to is also a factor. So maybe we can talk a little bit about the title and how this relates to exactly what you're saying, coming outside of like, mentally, even to escape this, this world that we are blocked physically and mentally, but also offering new alternatives of seeing things and seeing your surroundings, not just physically but also mentally.
Gustavo Prado:
Yeah, I love when you brought up that concept of sideline and all that. It came to mind that when I was a kid, I had this way of thinking like an explorer or adventure that goes to the Himalayas for climbing a mountain for the first time, and that sort of experience. I always thought of that from the point of view of: so he's seen something that nobody else had seen before. He's seen the world from a position, from an angle that nobody else has seen before. And when you think about the history of mirrors and lenses, it has always been in relationship to that urge, that kind of hunger, that kind of desire that exists in terms of being hungry with the eyes, like wanting to see something in a way that nobody has seen before, and from a place that nobody even when you think about sci fi, science fiction, that sort of thing, like you see a planet, it has two moons or three moons, you've seen something that nobody else had seen before. So it's interesting that idea on the current kind of relates to the potential that exists in every place to be seen for the first time. There's a way of seeing that same place for the first time, because it's always changing, but because there's a person that's seen it, that's different. There's a configuration, a combination of elements that's going to be seen in a different line, in a different way, and you have the symbolical aspect of it, but also the physical, the perceptual aspect of it.
So I think when artists began to use lenses, you begin you can see it as revealing something of the world for the first time, an aspect of the world like that has not have not been revealed before. But you can also think of it as inaugurating or creating a completely new world, like when Vermeer, was using lenses, he created a completely new way of doing painting. So I think that we are always after that undercurrent, that kind of underground river, or of potentiality for what can be seen or what can be experienced of the world.
This is almost like squeezing out of it another job of some of an experience that you haven't had before. So I'm sure that the Botanical Garden is a very popular place in Miami, and a lot of people have been through it. And when you're invited to do a public piece there there's that challenge, can I relate to that space? Or can I review something about that space? Can I offer an experience of it and with it? Right? It's not just placing something there. Is like there's a desire to reveal something about it in dialogue with it that hasn't been revealed before. So, yes, I think that's also that level of humility, you know that you're like creating the elements to have the garden itself, be the protagonist, and even the viewer be the protagonist, because the work is going to exist in their eyes depending on how long they want to expand, they want to spend there, how much they want to explore of it. What is their availability for it?…
Jennifer Inacio:
Are you working on anything now? at the moment I know we're just working on this project. But do you have any projects or any ideas that you can share with us? Or, what is your method of thinking of new things and new projects out there?
Gustavo:
I think there are things happening in parallel, like, I'm still very much devoted to this series of (..) in terms of the private experience in the studio, I'm very much devoted to research in this Lego series, this Ascension series, but in terms of public art, there's also, like, several projects happening. And the project that I was and still I am, most excited about, is the possibility of doing a permanent piece for the City of Vancouver.
I was invited by Marcelo Dantas, curator that worked with a way Ai Weiwei and so many others, such a brilliant figure. We first worked in Rio, there's still a permanent piece that we did together for space in Rio at FIRJAN that has a really strong relationship with this piece at Miami.
So we were first thinking of doing something for the for the Vancouver Biennial, but at a certain stage of the project, it became a project for the city that will stay in the city. I'm also doing a project for Ohio, and in that sense, it's very interesting to cross over to like architecture concerns. So in Ohio, is also a part of the city that's being renewed, of one city in Ohio that's being renewed, and so they putting art at the center of that new portion of the city. So as the as this little strategy of our shelf material starts to grow and grow and which was at the beginning, a kind of one like rebellious and immature attempt of hitting [Richard] Serra in the gut because I was writing about Richard Serra at the at the time, it was kind of irritated by the kind of strength and power that you need to have to be able to mobilize that much energy.
So what became in the beginning this rebellious, immature kind of strategy. Now it's like: okay, now I'm beginning to have to put it to the test, because it's gaining scale, and it's starting to become this thing that in the city needs to hold its own, it needs to last and relate to all kinds of other complexities and social structures. And it's not just formal solutions. It's like what it's going to do for the space that it's being placed at. So it's interesting to be doing all of that, from being in New York. We were going to do the project recovering in March, and then they closed the border, so I couldn't go. So we're going to do it next year. But the Ohio I'm developing everything from the studio, Miami too, so I just did a piece in Rio that was also done in that way. So yeah, I putting the system to the challenge and to the test.
But yeah, exciting times…
I hope I can go to Miami soon, yes, for the project also, because it's getting very cold in New York and I would love to go to Miami
Jennifer Inacio:
No, this is, yeah, this is this, I think, from December to March anytime at the museum where I work at, we would have to invite artists from New York or from colder places. It was always easy to get people here, because they’re trying to run away.
Gustavo Prado:
No, I remember I was at the Perez Museum and I saw those beautiful, plants hanging from there, it's like, how did they maintain this, yeah, and it's like, how did they maintain it? Wow, they have amazing weather. Oh, yeah it's a challenge. I'm sure it is. But there's also that aspect of a place that allows for that to grow and to live.
Jennifer Inacio:
And how is it, being from Brazil and living in New York? It's an amazing city, but you've been there for a couple of years, right? But I know that when I went to — going off topic here, but I think it's interesting to hear —, there was a Brazilian living in New York, and I know when I went to study abroad, I went to Europe, the weather, the lack of sun. At four or five o'clock it's already dark. I mean, it's getting darker here earlier too. But besides, being exposed to amazing art, like, how is it (...)
Gustavo Prado:
well, that was always the point, right?
To be closer to all that art that when I visited New York I remember that when you're in Rio, you want to be close to Arpoador and Ipanema, like, so that's that experience. But here, I wanted to be close to those works, but there's also, like, a very important aspect of it, because we always think of like something being exotic, as something being tropical or south of the equator. And the word, the word itself, doesn't mean that it depends on context. It depends on who finds it exotic or not. So it depends on the place that you come from. So for me, when I arrived in New York, the bridges and the way that they are built, and this modular systems and this abundance of materials that you can enter in a hardware store and can find a whole universe of things with which you can build that was so exotic, you know? And then the way that even the landscape here is, I remember that I was photographing obsessively. And I remember a conversation with my brother, and he was like: What is with all the photographs? And I was like, maybe photographing is a way of becoming familiar with this place faster. I still see it as a foreign, alien space. Not so much anymore. Like it's weird how you become familiarized and it becomes kind of the standard after a few years, and you kind of lose that first punch of energy that you get from when you arrive in a new space, right? You see like that's very common place to say that artists, writers, musicians, have always traveled to other cities to become that more creative and challenged by that sense of uncertainty, and becoming unfamiliar with the place in order to become creative. So that was very present for me but I was very amazed by by those ways of building, that those even the how democratic it is(...)
Because in Brazil, we have that sense of, like, there's going to be people around workers and so they're going to be like, cheap labor, and they're going to level the concrete. So I'm going to be this genius that does this curves and not criticizing the designs or the architecture of the empire.
But I'm just saying there's a social context that allows for that to be built and this massive quantity of people that are going to just migrate to the center of the country to do the concrete curve that I want with my drawing so, and here you have that kind of Bauhaus thing, like i'm going to come up with the modular system that anybody's going to be able to assemble and put together, and it's, it's going to be very flexible, because from just one point, I'm going to be able to project a lot of weight, so even ideologically and politically, not just in terms of that being very exotic to me, but that, that concept of Oh, so I can just use this to be whatever I want, which is the same kind of thinking with Legos, right? That the system was pre designed for and those systems gave me the independence to build work without relying on those much, those resources, because they have this also this democratic thinking about them. So, yeah, I mean, that was from the beginning, a very strong input of energy. But I gotta tell you, I miss the people. I miss the conversations, I miss the relationships. I miss the studios of my friends. There's like right next to my piece, there's a piece by a very dear friend, Raul Mourão, we did so many good things together here in New York before he moved back to Brazil, but he's always here still, and so I miss the conversations. There's so much part of the work… right?
Jennifer Inacio:
Yeah, the conversations definitely help. But I think now with people getting more used to digital it's not the same, obviously. But I know I talked to my friends in zoom more than I would see them before.
So I think that, I think we're running out of time, though. I just wanted to answer one question here real quick. How can we see the Miami Project Online? I don't know if Flavia has any suggestions, because it is an outdoor space. It might be feel safer, but if you still don't feel safe, I'm sure Flavia and people from the 55 project will take amazing photographs to have it online and accessible. So. The opening is tomorrow at two for members and to the public at three, I just don't want to get cut. So thank you so much. Gustavo and everyone, all the sponsors for supporting this project.
Gustavo Prado:
Thank you Jeniffer, Flavia, and Cristina Mascarenhas is such a good friend that supported this project as well. I'm super excited, couldn't be more excited, thank you all so much.
